^ 



PS 3531 
.0953 
E6 
1916 
Copy 1 




Embalming Ebenezer 




BUSHING COMPANY 



Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
j-EWis Tubes. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, fi\e female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who docs not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NE^V HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumo.nt. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five .A.cts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, hut the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Embalming Ebenezer 

An Ethiopian Farce in One Scene 



By 
HERBERT P. POWELL 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1916 



PS 3531 



Copyright 1916 by The Penn Publishing Company 



Embalming Ebenezer ^^^^ ^^^^^ 

OEf 2 /9(b 



Embalming Ebenezer 



CHARACTERS 



Ebenezer Rosenstein . bosom companion and sometime 

frietid of Hardupp 
Horace Hardupp . . who is planning to '^^ get-rich- 
quick ' ' 
Dr. George Washington Stonewall 

Jackson . . . . .an insurance agent 

Time of Playing. — Fifteen minutes. 



STORY OF THE PLAY 

Horace Hardupp has spent his friend Ebenezer's "las* 
two quahtahs " for an insurance policy in his own favor. 
There is one flaw in his scheme, however : — Ebenezer 
"ain't got no notion of dying, not no notion." But when 
the agent, already informed by Horace of Ebenezer's death, 
comes in, he plays the corpse, with some expostulations, 
however. Jackson questions Horace about the deceased 
and then proceeds to embalm the "corpse," Horace goes 
to get some ice, leaving Ebenezer to the tender mercies of 
Dr. Jackson. A screamingly funny scene ensues, in which 
Dr. Jackson swells what seems to be Ebenezer's head until 
it bursts. The poison which the Doctor had poured into 
the glass having disappeared while his back was turned, he 
decides that " de sperrits done got him." When he gets a 
vision of Ebenezer in a sheet he is fully convinced and flees 
in terror, leaving Ebenezer master of the situation and of 
the insurance money. 



4 COSTUMES, ETC. 

COSTUMES, ETC. 

Ebenezer Rosenstein. Twenty-five. Shabby, ill-fit- 
ting coat and trousers. 

Horace Hardupp. Twenty-five. Much more sporty 
and better-fitting clothes, red tie and spotted vest. 

Dr. Jackson. Grandly arrayed in Prince Albert, gray 
trousers, tan shoes, white spats and silk hat. 



PROPERTIES 



Razor and folded paper, supposed to be insurance policy, 
for Hardupp. For Jackson, suit-case, can labeled " Poison," 
legal document, fountain pen, meat-cleaver, knife, potato 
masher, bicycle pump, toy balloon, tumbler, syringe, cigar, 
money, a collection of tools. Sheet on couch. 



SCENE PLOT 



INTERIOR BACKING 




SCENE. — Room of Horace and Ebenezer. Door up c. ; 
table down L. ; chairs on each side of table ; cot or couch 
down R, ; cuspidor in front of couch ; chair at head of 
couch. 



Embalming Ebenezer 



SCENE. — Roo7n of Horace Hardupp flfw^T Ebenezer Ro- 
SENSTEIN. {See Scene Plot.^ Ebenezer is sitting deject- 
edly in the chair by the table, facing the audience. 

Ebenezer. Wha' am dat niggah, anyways? Heah it 
am t'ree days since Ah laid mail eyes on him, — an' de same 
len'th ob time sence Ah see de las' remaindah of mah eahn- 
in's, what he done tuk along. Oh, de frien' ob mah bosom, 
de companion ob mah trust, tuhned traitah,done lef me to 
stahve, while he's spohtin' hisse'f at Atlantic City (^local re- 
sort) wif mah cash. Jes' wait tel Ah kotch dat niggah ! 
(^Door opens and Horace strides in triumphantly zvaving 
^'policy." Ebenezer makes for him.) Wheah am mah 
cash, you good-foh-nothin' black stove-pipe? 

Horace {less exuberant). Now, Ebenezer, jes* lemme 
explain. 

Ebenezer. You cain't 'splain stealin' mah las' two 
quahtahs 1 

Horace. Look heah what Ah done buyed ! This'll 
make me a rich man ; — if you'll jes' lemme talk a 
minnit 

Ebenezer. Go on an' talk. I ain't int'ruptin' you. Go 
on, talk, talk, talk ! 

Horace. Well, you see, it was dissaway 

Ebenezer. An', believe me, you got some talkin' to do. 

Horace. By havin' your life insured, I 

Ebenezer. Say, is you 'ware dat food has been a total 
strainger to mah stomach foh two whole days? 

Horace. I'se 'ware dat if you keep on interpolruptin' me, 
it'll take two days to 'splain dis pioposition through your 
billiard ball of a head. 

Ebenezer. An', furthermore, does you know dat if Ah 



O EMBALMING EBENEZER 

ever does have de good fortune to eat one more time on dis 
earth, Ah'U have to swallow a crow-bar fust? 

Horace. For what ? 

Ebenezer. So as to pry my stomach away from mah 
backbone, dat's why. 

Horace. Say, is you gonna lemme 'splain dis matter, or 
is you ain't? Dat's all Ah axe you; is you is, or is you 
ain't ? 

Ebenezer. If you can' 'splain mah las' two quahtahs 
from mah eager fingers to mah entire satisfaction, you is 
some or-a-tor. 

Horace. All Ah ask is a chance. 

Ebenezer. All Ah ask is one lone chance at dat fifty 
cents. 

Horace. You see, it was dissaway 

Ebenezer. One, single, solitary chance is all I request. 

Horace. I has had your life insured 

Ebenezer. Another thing ; why did my life have to be 
insured? Why not your life? 

Horace. Because I'm in no danger of death. 

Ebenezer. You're in danger of death every time I think 
of my las' fifty cents. 

Horace {ignoring the thrust^. As de matter now stands, 
when you dies, de insurance company gives you 

Ebenezer {still suspicious). Don't hesitate, — de insur- 
ance company gives me what ? 

Horace. A full military funeral. 

Ebenezer {sarcastically). A full military funeral is a 
lot o' comfort to a starvin' corpse, now ain't it? 

Horace. And de insurance company gives me 

{He takes insurance policy out of his pocket and reads.') 
"Ten dollars if you're burned up at home; twenty-five dol- 
lars if you're burned up in jail ; and fifty dollars if you're 
burned up in a railroad wreck." 

Ebenezer. I thought you said dat was a life insurance 
policy ? 

Horace. Dat's right. 

Ebenezer. You fool coon, dat's a fire insurance policy. 

Horace. Well, is everything clear to you now ? 

Ebenezer, Yes, I can see through it as easy as a brick 
wall. 

Horace. Why, coon, de scheme is perfect, — as perfect 
as a diamond. 



EMBALMING EBENEZER 7 

Ebenezer. Horace, dat li'l diamond of yours has got a 
flaw ill it as big as your head. 

Horace. Point it out to me, Ebenezer. 

Ebenezer. I ain't got no notion of dying, not no notion. 

Horace {exasperated^. Look me in the eye, Ebenezer 
Rosenstein, an' answer me dis. Would you let a little thing 
like your life mar our friendship ? 

Ebenezer. 1 would, I would ; you know very well I 
would. 

Horace. You looka here, nigga. I has done notified de 
agent dat you died dis mornin', an' I expecks him any niin- 
nit to come and view de remains, an* pay me. 

Ebenezer. Only, when Mr. Agent comes, there will be 
no remains. 

Horace {covfidently). When de agent comes, you is 
gwine ter be layin' on dat 'ere couch dead. (Ebenezer 
shudders.) Stone dead ! (^More shudders.) 

Ebenezer. Dawgone if 1 don't believe you loss your 
mind. 

Horace. You de one dat loss your mind. Don't you 
understand dat you jus' makes out you is dead ? Den, after 
de agent pays me an' goes away, I pays you 

Ebenezer (Jn/erested for the first time'). Don't stop ! 

Horace. I pays you your fifty cents back, an' 

Ebenezer (disgusted again). You don't tell me ! 

Horace. Now, what's wrong wid you? 

Ebenezer. You got more gall. You takes my fifty 
cents. Leaves me hungry ; takes chances wid my well 
being, an' all I gets out of it is a little excitement, an' my 
same ole fifty cents back again. 

Horace. Well, if you ain't de mos' disagreeable nigga. 
A minute ago you was yellin' de top of your head off 'cause 
I tooken your two quahtahs, an' now here you iscomplainin' 
'cause I'm gonna give 'em back to you. (^Ktiock is heard 
at the door.) Dere's de insurance man now, Ebenezer. 
Lay down an' die quick. 

Ebenezer. I stan' as much chance of layin' down dere 
as a snowball in 

(Knock cuts off the rest of the sentence. ) 

Horace {pulliug out a micked looking razor). Is it 
gonna be necessary for me to persuade you to lay down on 
dat 'ere couch ? 



8 EMBALMING EBENEZER 

Ebenezer (Jying dorvti). I see I gotta die one way or 
another. {Knock heard again. ) 

Horace {sitting on Ebenezer's legs). Come in. 

(^Enter Dr. Jackson, with a suit-case in one hand, and in 
the other a can labeled " Poison^) 

Jackson. Ah, brudder, I wishes to offer you my con- 
dolences in your sad bereavement. 

Horace. Yassuh. Same to you, suh, an' many of *em. 

Jackson. Are you sittin' up wid de corpse? 

Ebenezer {rising to sitting position'^. Naw, he's sittin' 
up on de corpse. 

(Horace pushes his face and makes him lie donm again, 
then gets up hurriedly and stands in front of Ebenezer.) 

Jackson. What's dat? 

Horace. I said, don't he look natural? 

{Stands at the head of the couch.) 

Jackson. Hum, before I can deliver the money, I has to 
fill in de death cerstifficate. {He sits at table with back to 
the couch and pulls out from his pocket large document and 
fountain pen.) First, what was his name? 

Horace. Ebenezer Rosenstein. 

Jackson. Rosenstein is a Jew name. 

Horace. Ebenezer was a Jew nigger. 

(Ebenezer sits up indignantly and }^OR\CEproniptly throws 
him down.) 

Jackson. Born 



Horace. Oh, yassuh. 

Jackson. What ? 

Horace. I say, yassuh he was born. 

Jackson. I means, what's his age? 

Horace. Oh! ( 71' Ebenezer.) How old is you? 

Ebenezer. Six and seven-eights, my nex' birthday. 

Horace. Six an' seven-eights. 

Jackson. Dat's his hat. 

Horace. Well, dat's what he told me before he died. 

Jackson. Count his teeth. 

(Horace sits on Ebenezer's stomach and coutits his teeth.) 



EMBALMING EBENEZER 9 

Horace (iurtiing to Jackson). Twenty-six on his 
mother's bide. 

{^He allotvs his finger to stay in Ebenezer's mouth, and 
Ebenezer bites it hard. Wo\<hQ^ jumps up with a yell.') 

Jackson {jumping). What's de matter wid you, nigger? 
Horace, i got rheumatism in my finger. 
Jackson. Hum ! Lemme see ! Oh, yes, what was de 
cause of his death ? 

Ebenezer {sitting up). We needed de money. 

(Horace //^//y him doivn.) 

Jackson. You what ? 

Horace. I said — uh — dat he — uh — dat he et too much 
honey. Yassuh, he et too much honey. 
Jackson. I see, overeating. 

{At that insult, Ebenezer y//;;//^ off the couch and runs 
over to table. Horace, in despair, takes Ebenezer's 
place on the couch. Jackson is busy at the desk and does 
not see this.) 

Ebenezer. You stewed hunk of shoe-blacking, don't 
you kid me. Overeating your big foot. I ain't et for two 
days or nights. {Goes up c.) 

Jackson. I ain't axe when is you et. I'se talking 'bout 
de deceased. 

(Ebenezer notices what Horace has done.) 

Ebenezer. Oh, sure ! You mean corpsie. 

Jackson {looking at 'Ej^kviv.zv.^, up c). Eggsackly. 

Ebenezer. Oh, yeah. What was you sayin' ? 

Jackson. I asked, what did he die of? 

Ebenezer. He died of a Tuesday night. 

Jackson. Hum, did he leave a wife ? 

Ebenezer. Yeah, every night. 

Jackson. Hum, did he belong to de army of de Lord ? 

Ebenezer. Naw, suh, he belonged to de navy. 

Jackson. To de navy? 

Ebenezer. Yassuh, he was a Baptist. 

(Jackson laughs heartily at the joke, and Ebenezer coji- 
ceitedly struts over to conch, r., chiicklijig. Horace nabs 
hi?n and pulls hijn back on the couch.) 



10 EMBALMING EBENEZER 

Jackson. Well, here's de money. {Counts bills.) Ten, 
twenty, thirty, forty, fifty. 

(Horace goes up l.) 

Horace. Oh, thank you, suh. 

(^He reaches for money, but Jackson, as though on second 
thought, withholds it.) 

Jackson. Oh, I nearly forgot, I'se got to embalm 
him. {^Busy again at desk.) 

(Ebenezer sits up on couch. Horace rushes r. to him.) 

Ebenezer. You gotta do what ? 

(Horace sits down on him.) 

Horace. What is embalming? 

Jackson. Making sure he's dead. If he ain't exactly 
dead now, he will be when I gets through with him. Dat 
prevents his being buried alive. 

Horace (^looking down at Ebenezer). Well, we won't 
ask you to go to all that trouble. (^Gets up off Ebenezer.) 

Jackson. I gotta. It's a rule of our company. No 
embalming, no money. 

Horace {considering a minute). Oh, well, it matters 
not to me. Go on an' embalm him. I must have de 
money. (Jackson opens the suit-case dojvn l., his back to 
couch, and dumps an assortment of hardware on the table. 
Horace, c.) Why the tools? 

(Ebenezer sits up.) 

Jackson. I has to use every one of dese on him. 
Ebenezer. He couldn't touch me wid a feather duster. 

(Horace goes r. and pushes him down. Jackson is on 
knees, dowti L., taking things from suit-case.) 

Jackson. Huh, brudder, take this two-buck note an' get 
me some ice. 

Horace {going l., takes the proffered bill). What you 
want ice for, Doc ? 

Jackson. Why, as I cuts him apart, we can fill him up 
wid ice an' preserve him. 



EMBALMING EBENEZER II 

Horace. Science is a great thing. {He walks to door, c.) 
Say, Doc. 

Jackson. Yes, brudder? 

Horace. Save his gizzard for me, will you ? 

Jackson. Suttinly, brudder, suttinly. {Exit Horace, 
lip c. Jackson rises, takes off his coat ; walks over to 
coticli and looks at Ebenezer reflectively, scratchiiii^ his 
chin?) Lemme see. The first thing is to blow his brains 
out. {Walks over to table and picks up large bicycle pump. 
Goes back to couch and attaches pump to the tube of a toy 
balloon tvhich is concealed under Ebenezer's ivig. Eben- 
ezek's head is toward audience. Jackson begins pumping 
and balloon swells tip through openifig in wig, apparently 
being a boil on Ebenezer's head. ^kQ^'&o^ pumps until the 
balloon bursts. He goes back to table, L. Ebenezer sits 
up and feels head. Jackson picks up the can labeled 
** Poison," and fills tumbler. Ebenezer lies dotvn again. 
Jackson places tumbler on chair at head of couch and zvalks 
back to table. Ebenezer picks up tuinbler, smells it and 
pours contents into cuspidor and lies down again. Jackson 
walks to couch and is astonished to find the tumbler empty.) 
Now, 1 thought sho' I'd filled dat 'ere glass wid dat 'ere 
poison. {He goes back to table and refills glass with liquid, 
places glass on chair by couch and carries can back to 
table, L. Ebenezer /^//r^ the second glass into the cuspidor 
also. Jackson returns to chair to find glass empty. He 
picks up the glass and turns it tipside dotvn to make sure. 
Looks at Ebenezer curiously.) Well, I guess I'll have to 
shoot it into hhn. {He gets a large syringe, sticks it into 
the can and fills it with the fluid. Places the syringe in 
Ebenezer's mouth and shoves the plunger down. Ebenezer 
promptly squirts the water up into Jackson's face. Jack- 
son is blinded. He splutters and leaves his hands ivildly. 
Ebenezer rolls off on r. side of couch, coughing and spit- 
ting. Jackson goes to table, l., and picks up meat-cleaver. 
When he goes to couch and flnds it empty he is thoroughly 
fri^rhtened.) Oh, my land ! De sperrits done got him ! 
{He turns and gets his coat off chair. Ebenezer ^<' A up 
and lies down on couch, L. Jackson starts to run off, but 
draivs up suddenly, discovering Ebenezer.) Well, I be 
dawgone ! {He feels Ebenezeu, doiibtingly.) It's him, 
all right. {He whistles, goes to table, L., lays his coat back 
over chair. Ebenezer gets up, throws sheet over head and 



12 EMBALMING EBENEZER 

goes np L., behind Jackson, 7vho again picks up meat- 
cleaver. Jackson walks to couch to find that Ebenezer is 
a^ain missing. Ebenezer stands up l.) Oh, my golly ! 
He's gone again. 

(Ej^k^'s.z^r emits a holloii) groan. Jackson shudders. Eben- 
ezer groans again and moves down R., back of Jack- 
son. Jackson's teeth cJiatter and his legs quake. The 
cleaver drops froin his nerveless fingers, and his hand 
gropes behind him. He is terrified on coming in contact 
with the sheet. He feels it, his hand slowly creepiftg up- 
wards. Turns and sees the ghostly sheet, and with a 
sliriek falls backivcirds over the couch ; gets up and nnth 
another look exits hurriedly, c. Ebenezer takes off the 
sheet, puts on Jackson's coat and silk hat. Counts the 
bills ivhich lie on the table.') 

Ebenezer. Huh ! Fifty dollars. I'll let Horace keep 
them two quahtahs. (^He rolls up bills and puts them in 
his pocket. Takes ci^ar from pocket of Jackson's coat, 
lights it, and takes two long puffs. Sets the silk hat on his 
head.) Well, I always did think I'd make an elegant corpse. 

(^Clears his throat grandly and walks proudly to door.) 



curtain 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
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and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female cJiaracters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal f)arts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
jscenery is required, and the costumes and properties are all 
'easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
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part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents, 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



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Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
^School," "Back to the Country Store," etc. The villagers have 
■planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises' 
the surprisers. The entertainment is a sure success. Price, 15 cents, 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular g»t- 
ling-gun' stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
.%ny number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter, 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
/ more. Time, forty minutes. The play requires neither scenery 
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easily be prepared in one or two rehearsals. Price, 25 cents. 

^ BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 

Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



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In Selecting Your Next Play Do Not Overlook This List 

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by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine fema'.e characters. Time in 
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sult each other as to the manner of fascinating the physician. 
\\^hen the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMON'T. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired li\ing with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has Just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 




LIBRftRY OF CONGRESS 

The Power of 1 

Expression and efficiency go hand in ""0" "gjis 391 013 9 

The power of clear and forceful expression brings confi- 
dence and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School ot 
Elocution and Oratory, which during many years has de 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



